I returned to painting through abstraction, and pouring quickly became one of the techniques that fascinated me most. I loved the richness of the colour, the movement of the paint and the unexpected forms that appeared when materials were allowed to interact.

But unpredictability alone was not enough. I wanted to understand how much of the process I could control without losing the spontaneity that made it exciting.

What followed was a long period of experimentation. I tried different mediums, consistencies, ways of applying and moving the paint, observing how small changes affected colour, texture and form. Gradually, I began developing my own process.

Flowers emerged naturally from this exploration. They gave me a structure within which I could work with both intention and chance. I could guide the composition while allowing the paint to retain its own movement, accidents and exuberance.

Over time, the technique became more mature and recognisably mine. Reaching that point brought a particular satisfaction: not simply because I had learned to control a medium, but because I had found a way of working that felt personal.

I continue to experiment with variations of the process. I don't see it as a technique I have completed, nor as a replacement for abstraction, drawing, landscape or other forms of expression. It is one visual language among several that I expect will continue to evolve with my work.